:00:00. > :00:00.and we also have the news that Brendan Rodgers is the new manager
:00:00. > :00:07.of Celtic. That is all coming up later on. But now it is time for the
:00:08. > :00:19.Film Review. Hello and welcome to
:00:20. > :00:22.The Film Review on BBC News. To take us through this week's
:00:23. > :00:37.cinema releases is Mark Kermode. We have Sing Street, which is a
:00:38. > :00:42.musical 80s fantasy. X-Men Apocalypse, another superhero romp.
:00:43. > :00:50.Chicken, very interesting low-budget feature. Sing Street. The latest
:00:51. > :00:57.from John Carney, who made once, and begin again, he has a good eye and
:00:58. > :01:01.ear for the strange magic of making music, than anyone else working
:01:02. > :01:04.cinema at the moment. It is set in Dublin in the mid-80s, this awkward
:01:05. > :01:10.teenager played by Ferdia Walsh-Peelo, but comes infatuated
:01:11. > :01:15.with a local girl, he asks her to be in his band's pop video, she says
:01:16. > :01:20.yes, but he says he does not actually have a band. He runs around
:01:21. > :01:24.and rounds up the young musicians he can to form a band and they start
:01:25. > :01:29.out, attempting to sound like Duran Duran, but as his older brother
:01:30. > :01:36.tells him, that is not rock and roll. This is a clip. The girl, it
:01:37. > :01:42.is all about the girl, isn't it? Yes. You are going to use someone
:01:43. > :01:51.else's art to get her? We are just art in. Did the sex pistols know how
:01:52. > :01:55.to play? You are not Steely Dan. You need to know not how to play, and
:01:56. > :02:01.that takes practice. And you are not a covers band, by the way. Really?
:02:02. > :02:07.Every wedding and every pub has a covers band and every covers band
:02:08. > :02:11.has a middle-aged figure who never have the balls to write a song for
:02:12. > :02:16.himself or stop rock 'n' roll is a risk you risk being ridiculed. I
:02:17. > :02:20.don't know how to write a song. Close the door, it is going to be a
:02:21. > :02:27.long night. I got school in the morning. This is school. Rock
:02:28. > :02:32.School! Is closer to School of rock, and people have made comparisons
:02:33. > :02:40.with The Commitments, which I think is misguided, but it is close to
:02:41. > :02:43.school of rock. What I like about it, John Carney is great at
:02:44. > :02:49.negotiating the difference between the sound in your head and the sound
:02:50. > :02:54.any the room. It has the right blend, one foot in the kitchen sink
:02:55. > :02:58.and its head is in the stars, and it manages to blur that line between
:02:59. > :03:03.what is real and believable and what is slightly fantastical. It does it
:03:04. > :03:11.superbly. The Keira frame of the film, what does it mean to be happy
:03:12. > :03:15.sad? -- the key refrain. Like a great pop song, that is how the film
:03:16. > :03:19.makes you feel, the music is not 80s pastiche, but very well done. In
:03:20. > :03:24.terms of what kind of music you might have been making in the
:03:25. > :03:27.mid-80s. As someone who was in bands in their teenage years, he has a
:03:28. > :03:30.great eye for that moment when you sit down with somebody and you
:03:31. > :03:36.attempt to write the song, attempting to rip off another song.
:03:37. > :03:41.I really enjoyed it, I laughed and cried and I came out humming the
:03:42. > :03:46.choose, and when was the last time you said a film really put a spring
:03:47. > :03:53.in your step? That is true. Like the new Romantics, but not the same
:03:54. > :03:58.make-up. One of them is in a cowboy outfit. It is very very funny, but
:03:59. > :04:02.it has this proper streak of melancholy which worked very well.
:04:03. > :04:06.When it gets into the starting fantastical area I thought it did it
:04:07. > :04:11.in the right way, in the way that listing to a great pop record would.
:04:12. > :04:18.It is really lovely. -- listening. That is good. And a good script, as
:04:19. > :04:22.well. And now X-Men Apocalypse, I have low expectations. After the
:04:23. > :04:25.disappointment of Batman versus Superman and then the surprise joys
:04:26. > :04:31.of Captain America, this is somewhere in between. The narrative
:04:32. > :04:37.goes from Egyptian pyramids to 80s Mr Agger, Bryan Singer has fun with
:04:38. > :04:45.breakfast club, there are individual bits which are good. The plot is
:04:46. > :04:49.around a boo-boo mutants who is attempting to end humanity, and it
:04:50. > :04:52.is a cross between Stargate and Raiders of the lost Ark, and
:04:53. > :04:58.sometimes like an overcooked Doctor Who story. It suffers from having
:04:59. > :05:02.too many people for any of them to have traction and it has not been
:05:03. > :05:08.very well received by critics and some fans. Some people said this is
:05:09. > :05:12.the worst X-Men, I did not think it was, I enjoyed it enough, but like a
:05:13. > :05:19.great big vat of popcorn it is big and noisy and insubstantial, and
:05:20. > :05:29.considering the Apple -- pop elliptic subject matter. James
:05:30. > :05:35.McAvennie and -- James McAvoy and Michael Fassbender can be great.
:05:36. > :05:40.Yes, but the movie is not great. OK. And now Chicken. This is about a
:05:41. > :05:52.young man with learning difficulties living in a caravan with his violent
:05:53. > :05:56.brother. Richard is the main guy, brilliantly played by Scott
:05:57. > :06:00.Chambers, he starts up a friendship with Annabel, the daughter of the
:06:01. > :06:08.people who now own the land and they find a strange off-kilter
:06:09. > :06:16.friendship. This is a clip. Look at this place. The air and the fields,
:06:17. > :06:27.the sky, it is disgusting. Do you live here? Yeah. Where? In my
:06:28. > :06:35.caravan. Oh, it is you, you are the gypsy? No, that is Polly, I'm a
:06:36. > :06:48.farmer. Your sister is a gypsy? My brother is. Your brother is a Polly?
:06:49. > :06:54.Yes. That is a girl's name. I don't know, you'd have to ask him. For
:06:55. > :07:01.ever Polly. Not quite what I had in mind. What I love about the
:07:02. > :07:06.performance on Scott Chambers, it reminded me of Leonardo DiCaprio in
:07:07. > :07:09.what's eating Gilbert grape. It is very precise, to do with the
:07:10. > :07:14.slightly skewed nature of the physical movements, the speech
:07:15. > :07:18.patterns. It is a performance which is not patronising and that takes an
:07:19. > :07:22.isolated character and it engages you in the world and it makes you
:07:23. > :07:27.empathise and understand the complex emotional landscape that they
:07:28. > :07:36.inhabit. The film itself reminded me of Ken Loach's cares, the disparity
:07:37. > :07:40.between natural beauty and society and disorder, none was very drawn
:07:41. > :07:44.into it, and I thought the characters were engaging -- I was
:07:45. > :07:47.very drawn into it. It is beautifully played, the three
:07:48. > :07:52.central forms is our very well done and directed enough distance to not
:07:53. > :07:58.feel intrusive -- central performances. In the third act it
:07:59. > :08:02.feels they have two move towards a thematic denouement, which I did not
:08:03. > :08:05.think it needed, because I was so impressed with what it had done
:08:06. > :08:11.until that point. The central performance on Scott Chambers is
:08:12. > :08:15.really great. We can draw a graft of enjoyment versus the amount of money
:08:16. > :08:22.that is spent on a film, if you compare that with X-Men Apocalypse.
:08:23. > :08:26.Every single penny, it is all there, and it is clearly made with love and
:08:27. > :08:30.affection from people who care about the material, that is worth seeking
:08:31. > :08:36.out. If you get a chance to see it, please do. You're best of the week
:08:37. > :08:45.is still Mustang? The Turkish film. Yes. French film, actually, but
:08:46. > :08:48.about five Turkish girls, their houses turned into a wire factory,
:08:49. > :08:57.as it is described, and although this is a tale of confinement, what
:08:58. > :09:02.you take well -- away from it is their vibrancy and the sense of them
:09:03. > :09:05.as being on time but, living life to the fullest, even though they are
:09:06. > :09:09.living in these circumstances and I thought it was a very engaging piece
:09:10. > :09:12.of work, very tender and dealing with an important subject matter.
:09:13. > :09:19.Dealing with the humanity of these characters. You will love it. I know
:09:20. > :09:24.I will. I have neglected it so far, but it is sunny outside! Row and now
:09:25. > :09:31.the DVD of the week, that is Spotlight. When it was out in the
:09:32. > :09:35.cinema, we discussed it, it makes the inside of a newspaper office
:09:36. > :09:40.seem real. We have seen newspaper offices done badly, but this is
:09:41. > :09:47.about investigative journalism, shoe leather, the way there is a lot of
:09:48. > :09:52.drudgery, the investigation into the Catholic Church's cover-up of child
:09:53. > :09:55.abuse. It is not simple blacks and whites, it is to do with where
:09:56. > :09:59.responsibility lies and what the newspaper may or may not have done
:10:00. > :10:05.to pursue this story. Very fine cast. All very good. Very well
:10:06. > :10:11.directed by Tom McCarthy. I've seen it a few times, it is not all the
:10:12. > :10:17.Presidents man, but what is? But what it does have, the sense of grit
:10:18. > :10:21.and its fingernails, you get the sense it was made by people who
:10:22. > :10:26.understand the newsroom. -- under its fingernails. When I left, the
:10:27. > :10:35.first time I saw it, I googled Boston Globe and they have laid off
:10:36. > :10:40.many journalists. That is part of the whole economics, can you do
:10:41. > :10:45.investigative journalism on no money? The answer is no. You came
:10:46. > :10:48.out of the movie and you went and did that, you were engaged enough
:10:49. > :10:54.and you believed in the story to want to find out more about that
:10:55. > :10:59.after. From a film perspective, we have seen so many poor
:11:00. > :11:04.representations of the way papers work, I thought it was very good.
:11:05. > :11:08.Much of it is boring work, but this is not a boring film. You knock on
:11:09. > :11:16.people's doors, and you follow... In a way, in a way which is strangely
:11:17. > :11:27.and dramatic. A quick reminder before we go, that you will find
:11:28. > :11:30.more film news and reviews from across the BBC online.
:11:31. > :11:34.And you can catch up with our previous shows on iPlayer.
:11:35. > :11:45.We have got some changeable weather, all of us seeing some rain at times,
:11:46. > :11:48.and some have seen that arriving already, but not everywhere. This
:11:49. > :11:50.was taken